Amy Harris and Adam Bull in 'The Merry Widow'. The Australian Ballet 2018 season. Photo: © Justin Ridle

Dance diary. September 2017

The Australian Ballet in 2018

Details of the Australian Ballet’s 2018 season were revealed in September and this year Canberra audiences can anticipate a program from the national company. The Merry Widow, which David McAllister has called ‘a fantastically well-constructed soufflé’, was created for the Australian Ballet in 1975 as the first full-length production commissioned by the company. It will open at the Canberra Theatre Centre on 25 May and run until 30 May. Based on the operetta of the same name, it has choreography by Ronald Hynd, a scenario by Robert Helpmann (in 1975 artistic director of the Australian Ballet), and music by Franz Lehar. It will also have seasons in Sydney and Melbourne.

But beyond soufflés, and for those who like their ballet to have more intellectual input, an interesting program is scheduled for Melbourne and Sydney. Called Murphy, it honours the contribution Graeme Murphy has made to the Australian Ballet, which he joined from the Australian Ballet School in 1968. Programming is not yet complete, apparently, but we know that the main item on the program will be the return of Murphy’s Firebird, which he created for the Australian Ballet in 2009.

Lana Jones in Graeme Murphy's 'Firebird'. The Australian Ballet, 2009. Photo: © Alex Makeyev — Lana Jones in Graeme Murphy’s *Firebird*. The Australian Ballet, 2009. Photo: © Alex Makeyev

Here is a quote from Murphy from a story I wrote for The Weekend Australian in February 2009:

I want to give the audience the magic that they believe Firebird is. It will be a rich and opulent experience for them. Besides, the score is completely dictative of the narrative, which makes it hard to stray from the story. Firebird is imbued with Diaghilev’s thumbprint.
I am keeping all the elements of the work, the symbols of good and evil for example, but I will be focusing in a slightly different way. It will be a little like the world of winter opening up to let in the spring.

As for the rest of the season: Maina Gielgud’s production of Giselle will return for a season in Melbourne, while Sydney will have a return season of Alexei Ratmansky’s wonderful Cinderella; there is a new production of Spartacus in the pipeline, which will be seen in Melbourne and Sydney; Melbourne will have an exclusive season of a triple bill called Verve with works by Stephen Baynes, Tim Harbour and Alice Topp; and Adelaide will see The Sleeping Beauty.

Jennifer Irwin. Frocks, Tales and Tea

Jennifer Irwin, costume designer par excellence and recipient of the 2017 Australian Dance Award for Services to Dance, will be the special guest at an event hosted by ‘UsefulBox’ on 14 October at the Boronia tea rooms in the Sydney suburb of Mosman. Irwin will talk about her creative process and what inspired her as an artist. Further information at this link.

Andrée Grau (1954–2017)

The death has occurred, unexpectedly in France, of Andrée Grau, well-known dance anthropologist, and long-standing staff member of the University of Roehampton. Grau’s achievements, which include work in Australia, appear on the Roehampton website at this link.

Press for September 2017

‘Great flair shown in austere setting.’ Review of Circa’s Landscape with monsters. The Canberra Times, 8 September 2017, p. 31. Online version.

Seppe Van Looveren and Timothy Fyffe in 'Landscape With Monsters', 2017. Photo: © Vishal Pandey — Seppe Van Looveren and Timothy Fyffe in *Landscape With Monsters*, 2017. Photo: © Vishal Pandey

‘Untangling the truth.’ Preview of Gudirr, Gudirr, Dalisa Pigram and Marrugeku. The Canberra Times, 16 September 2017, Panorama p. 16. Online version.

Dalisa Pigram in 'Gudirr, Gudirr'. Photo Simon Schluter — Dalisa Pigram in *Gudirr, Gudirr*. Photo: © Simon Schluter

Michelle Potter, 30 September 2017

Featured image: Amy Harris and Adam Bull in The Merry Widow. The Australian Ballet 2018 season. Photo: © Justin Ridler.

Scene from 'Great Sport!' Canberra 2016. Photo © Lorna Sim

Australian Dance Awards 2017

24 September 2017. The Playhouse, Victorian Arts Centre, Melbourne

The winners of the 2017 Australian Dance Awards were announced in a ceremony in Melbourne on 24 September. The Playhouse at the Victorian Arts Centre was packed for what turned out to be an occasion with strong emotional and political overtones. The evening was hosted by cabaret star Sarah Ward and dancer Benjamin Hancock, both of whom brought a somewhat outrageous element to the evening. (To be absolutely honest, I can never understand why hosts of such events have to behave as if the show belongs to them). The politics came in the form of references by several of the presenters to the current same-sex marriage campaign.

The first half of the program suffered from what I can only describe as ‘technical issues’ in which the digital display of images and credit lines for nominees, and the eventual winner in each category (not to mention the life dates and images in the ‘In Memoriam’ section), didn’t fit properly on the screen. This was not a good look at all and resulted in confusion in some cases when the winner’s name was not given correctly by the presenter. I had to wonder whether there had been a tech rehearsal or not! Fortunately, the problem was fixed during the interval but it didn’t make up for the poor standard of production in the first half. The printed program was, however, beautifully designed and produced.

Nevertheless, for dance in the ACT, the outstanding news was that Liz Lea took out the award for Outstanding Achievement in Community Dance. She received the award for Great Sport!, a site specific work that Lea directed in collaboration with Canberra Dance Theatre, the National Museum of Australia, Dance for Parkinson’s ACT, and seven different choreographers—Lea herself, Martin del Amo, Kate Denborough, Tammi Gissell, Jane Ingall, Philip Piggin and Gerard van Dyck. This was a richly deserved award that recognised Lea’s significant effort to collaborate across the community spectrum, to seek out skilled choreographers from within the ACT and elsewhere, and to make dance that is inclusive. As it happens, however, Lea was one who suffered as a result of the ‘technical issues’. Her name was not called out as the recipient of the award!

Here is a link to my review of Great Sport! following its opening performance in celebration of World Health Day 2016.

Congratulations to Lea and all those who received an award. Here is the complete list of awardees.

Lifetime Achievement: Helen Herbertson
Services to Dance: Jennifer Irwin
Services to Dance Education: Kim Walker
Outstanding Achievement in Community Dance: Liz Lea and collaborators for Great Sport!
Outstanding Achievement in Youth Dance: Catapult Dance (The Flipside Project) for In Search of the Lost Things
Outstanding Achievement in Choreography: Lucy Guerin for The Dark Chorus
Outstanding Performance by a Company: Bangarra Dance Theatre for OUR Land People Stories
Outstanding Performance by a Female Dancer: Ako Kondo (Australian Ballet) for Coppélia
Outstanding Performance by a Male Dancer: Benjamin Hancock (Lucy Guerin Inc) for The Dark Chorus
Outstanding Performance in Commercial Dance or Musical Theatre: Jack Chambers (Stage Entertainment & Chichester Festival) for Singin’ in the Rain
Outstanding Achievement in Dance on Film or New Media: Tara and Pippa Samaya (The Samaya Wives) for The Knowledge Between Us.

In addition, Noel Tovey was inducted into the Hall of Fame and, in an emotion-filled acceptance speech, acknowledged those who had influenced his career, going right back to Jean Alexander and Xenia Borovansky. The Ausdance Peggy van Praagh Choreographic Fellowship, an award worth $10,000, went to Kristina Chan.

*****************

Apart from Liz Lea’s award, and its significance for the growth of dance in the ACT, from a very personal perspective, I was thrilled with the following:

Australian Ballet principal dancer Ako Kondo took out the award for Outstanding Performance by a Female Dancer for her performance as Swanilda in Coppélia. While an ADA in this category refers in particular to a performance in a particular year, not for a body of work, I have watched Kondo perform in many productions over the past few years and I could not help but think back to those many and varied times when I have had the pleasure of watching her onstage. Her technique is spectacular and in certain roles, including that of Swanilda, she just sparkles. See my previous comments at this tag.

Ako Kondo in *Coppélia* Act II. The Australian Ballet 2016. Photo: © Kate Longley

Jennifer Irwin walked away with the award for Services to Dance. Irwin has been designing costumes for major dance companies since she began working with Sydney Dance Company in the 1980s. Apart from Sydney Dance Company under Graeme Murphy and Janet Vernon, Irwin has had significant commissions from Bangarra Dance Theatre and the Australian Ballet. In her acceptance speech, Irwin acknowledged Graeme Murphy and Stephen Page for the influence they have had on her career. In addition, Irwin designed costumes for Dirty Dancing, the musical that had its first performances in 2004 in Australia. It featured well-known Australian dancer Joseph Brown, and the show went on to have popular seasons around the world. Irwin also designed parts of the 2000 Sydney Olympic opening and closing ceremonies. See this tag for further comments on various of Irwin’s designs.

Wearing costumes designed by Jennifer Irwin: (left) Amy Harris and Lana Jones in *The narrative of nothing*. The Australian Ballet, 2012. Photo: © Jeff Busby; (right) Kaine Sultan Babij in a study for *Sheoak*. Bangarra Dance Theatre, 2015. Photo: © Edward Mulvihill

Bangarra Dance Theatre received the coveted award of Outstanding Performance by a Company for OUR land people stories. This triple bill was a truly stunning example of the way in which Bangarra produces work in which dance meets theatre, meets art, meets music. It showcased the choreography of three dancers from within the ranks of the company—Jasmin Sheppard, Daniel Riley and Beau Dean Riley Smith—with the addition of a work from artistic director Stephen Page. It demonstrated Bangarra’s interest in bringing a wide range of Indigenous issues to the stage. Politics, kinship, and art all played a major role in the production and, as always, the show was splendidly staged and thrilling to watch.Daniel Riley accepted the award on behalf of Bangarra and acknowledged David Page, who died in 2016 and to whom the production of OUR land people stories was dedicated.Here is a link to my review of OUR land people stories.

Bangarra Dance Theatre in 'Nyapanyapa' from 'OUR land people stories,' 2016. Photo by Jhuny Boy Borja — Bangarra Dance Theatre in ‘Nyapanyapa’ from *OUR land people stories*, 2016. Photo: © Jhuny Boy Borja

And finally, the performances that accompanied the announcements were extraordinarily varied. I have to say I enjoyed most of all the lively Hopak Kalyna by the Lehenda Ukrainian Dance Company. The dancers smiled at us! It was a shame, though, that the Australian Ballet’s contribution, the pas de deux from The Sleeping Beauty danced by Amber Scott and Ty King-Wall, somehow looked out of place amid all the cabaret, hip hop, sexually-oriented material, angst and other dance elements. It made me wonder why I love ballet as much as I do. Perhaps there needs to be a change somewhere along the line. Perhaps a more contemporary piece from the Australian Ballet, or a bit more ballet in the program?

Michelle Potter, 24 September 2017

Featured image: Scene from ‘Annette’ in Great Sport! featuring dancers from the GOLDS, Canberra’s company of senior dancers. Photo © Lorna Sim, 2016

Beau Dean Riley Smith in Bennelong.' Bnagarra Dance Theatre, 2017. Photo: Daniel Boud

Bennelong. Bangarra Dance Theatre

29 June 2017. Drama Theatre, Sydney Opera House

Bennelong, Bangarra Dance Theatre’s most recent work, may well be the company’s most ambitious production to date. Yet in saying that, I can’t help feeling that it may also be its most powerful, its most emotive, and its most compelling show ever.

Stephen Page, as choreographer and creative storyteller, has taken the life of Wongal man, Woollarawarre Bennelong, as a starting point: Bennelong the man feted in many ways in early colonial society, and yet denigrated in so many other ways by that same society. Page presents a series of episodes in Bennelong’s life from birth to death. In those episodes we experience a range of emotions from horror in ‘Onslaught’ as large sections of the indigenous population are wiped out by an epidemic of smallpox, to a weird kind of fascination in ‘Crown’ when we watch Bennelong interacting with British high society after he arrives in London.

There is a strength too in how Page has ordered (or selected) the events. ‘Onslaught’ for example, follows ‘Responding’ in which the indigenous population is ‘assimilated’ by wearing Western clothing. We can’t help but make the connection between the arrival of the colonials and the outbreak of a Western disease. And following ‘Crown’ comes ‘Repatriation’ when we watch another emotionally difficult scene referring to ongoing efforts to repatriate bones and spirits of those who died in London (or perhaps even those whose bones and spirits were taken to London as ‘specimens’). It is tough but compelling watching.

The score for Bennelong was largely composed and performed by Steve Francis, but it also makes many references to the Bennelong story with snippets of music and song from elsewhere—the strains of Rule Britannia at one stage, a rousing sailor song as Bennelong is transported to London by ship, and some Haydn as Bennelong attends a ball with British society. The dancers and others, including dramaturg Alana Valentine and composer Matthew Doyle, have also been recorded speaking and singing and these recordings have been integrated into the score. It is absolutely spellbinding sound.

As is usual in a Bangarra production the visual elements were outstanding. I especially enjoyed Jennifer Irwins’s costumes, which were suggestive of various eras in indigenous and colonial society, from pre-colonial times to the present, without always being exact replicas.

The entire company was in exceptional form, with Elma Kris in a variety of roles as a keeper of indigenous knowledge, and Daniel Riley as Governor Phillip, giving particularly strong performances. But it was Beau Dean Riley Smith as Bennelong who was the powerful presence throughout. In addition to his solo work, it was impossible not to notice and be impressed by him in group sections and in his various encounters with others throughout the piece.

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey — Elma Kris and Beau Dean Riley Smith in *Bennelong*. Bangarra Dance Theatre, 2017 © Vishal Pandey

But it was in the final section, ‘1813/People of the Land’, that he totally captured the essence of what was at the heart Page’s conception of the character of Bennelong, a man trapped between two worlds and seeming to belong fully to neither. As he struggled physically and verbally to understand his position, and as he found himself slowly being encased in a prison (or mausoleum—Bennelong died in 1813), Smith was a forlorn and tortured figure. It was thrilling theatre. And that concrete-looking structure that was slowly built around him, and that eventually blocked him out from audience view entirely, was another powerful visual element. As the curtain fell, the prison structure carried a projection of a well-known colonial portrait of Bennelong and it seemed to represent the disappearance of indigenous culture at the hands of the colonial faction.

Bennelong was a truly dramatic and compelling piece of dance theatre. It deserved every moment of the huge ovation it received as it concluded. We all stood.

Michelle Potter, 1 July 2017

Featured image: Beau Dean Riley Smith in Bennelong. Bangarra Dance Theatre, 2017. Photo: © Daniel Boud

Djakapurra Munyarryun Ochres 2015 Photo by Jhuny-Boy Borja

Djakapurra Munyarryun. Bangarra Dance Theatre

In late September and early October Bangarra Dance Theatre will be performing in New York and Paris. In New York the company will be part of Fall for Dance, a wonderful initiative that has been held in October, when the leaves of the city’s deciduous trees are falling to the ground, for about 10 years now. All seats are just $15 and the program features dancers and dance companies from America and around the world. Bangarra will present Spirit, a selection from some of the company’s best-known works. That selection will include Djakapurra Munyarryun’s Ngurrtja—land cleansing song, which opened the 2015 reworking of the 1995 production, Ochres.

In Paris Bangarra will give five performances of the new Ochres at the Musée du quai Branly—Jacques Chirac, a museum devoted to ethnographic material from around the world. The company has a one week residency at the museum and the residency will include, in addition to Ochres, workshops, public talks and screenings of Stephen Page’s film Spear.

The role that Djakapurra Munyarryun will play in Ochres on this tour is not quite the same as his role in the original production, when in the opening moments he was seen smearing his body with yellow ochre. It was an unforgettable theatrical moment.

Djakapurra Munyarryun in Ochres, Bangarra Dance Theatre 1995. Photo Tim Webster — Djakapurra Munyarryun in *Ochres*, Bangarra Dance Theatre 1995. Photo: © Tim Webster
National Library of Australia

The recollection of that opening sent me hunting for a Canberra Times article I wrote in 1998 as a preview to Bangarra’s season of Fish. As the story was published in print form only, that is some years before The Canberra Times was available online, I am republishing it here (in a slightly refined form) for the background it gives to the work of Djakapurra Munyarryun.

‘Cultural designer steeped in tradition.’
Michelle Potter

When Bangarra Dance Theatre’s production of Fish opens next week at the brand new Playhouse, Canberra Theatre Centre, one performer is sure to stand out: Djakapurra Munyarryun. He has that elusive quality—stage presence. So strong is the sense of wisdom and authority that pervades his activities onstage it’s hard to believe he’s only 23. Artistic director of Bangarra and choreographer of Fish, Stephen Page, says, “It’s not surprising really. He’s part of the Dreaming.”

Munyarryun, steeped in the traditional dances and ceremonies of the Yirrkala community in north-eastern Arnhem Land, is Bangarra’s cultural consultant. For Fish he has also been designated “cultural designer” and takes his place alongside the other members of the creative team. Munyarryun’s contribution to the work of Bangarra is critical. It helps it achieve what is most distinctive about it: the fusion of traditional stories and music with the experiences of urban Aboriginal and Islander people.

“When he works with the company there is a constant sharing of ideas,” Page says. He is inspirational. Djakapurra helps build layers of Aboriginality in the company.”

Such layers are apparent in the thematic material in Fish. The works takes us on a journey to three watery worlds and celebrates the wealth of life and mystery they contain. Swamps is redolent of the sacredness and spirituality of traditional lifestyles; Traps juxtaposes contemporary Western and old Aboriginal ways; Reef, full of colour and light, is celebratory and refers especially to the dance styles of Torres Strait Islander communities.

For two, at least, of the Page brothers—choreographer/director Stephen, and musician David, who composed the score for Fish—the relationship with Munyarryun continues beyond the dance studio. The three enjoy a special relationship that allows them to explore the links between traditional and urban ways in a diversity of situations. Not only have they been adopted into each other’s families, but they also spend time in Yirrkala together often going out to catch stingrays. Stephen Page says:

“Of course the urban situation, where many of our stories were forbidden, was frustrating for Djakapurra at first. He had to learn a hard lesson about urban Aboriginal history. But he was always interested in the crossover of traditional and contemporary styles in both music and dance, and just kept returning to storytelling to rekindle the spirit. Now he is comfortable in both traditional and urban situations. This is the kind of fusion that is built into the infrastructure of Bangarra.”

Munyarryun has been with Bangarra since 1991, featuring in all its major productions including Praying Mantis Dreaming, Ninni, Ochres and, most recently Rites, the popular collaboration between Bangarra and the Australian Ballet staged for the Melbourne Festival last year.

As well as being a dynamic dancer, Munyarryun is a virtuoso didgeridoo player and in Fish, as well as dancing, he features as a musician on the soundtrack playing bilma and yirrdaki (clap sticks and didgeridoo). His versatility as a performer has also brought him roles in films, including Black River and Breaking Through, as well as work with the band Yothu Yindi.

Fish, now touring Australia as part of the 1998 Made to Move season, premiered at the Edinburgh International Festival last year before returning for a Sydney season in the Festival of the Dreaming, the first of the cultural festivals leading to the Sydney 2000 Olympic Games.

As well as highlighting the Bangarra approach to fusion, Fish has an extraordinary visual impact. Its evocative set is by Peter England; costumes are by Jennifer Irwin, who explores the qualities of texture and sheen; and lighting is by Mark Howett.

Djakapurra Munyarryun is the tall dancer, with presence and authority, who will probably come out after the show in jeans, a T-shirt and a baseball cap.

First published in The Canberra Times—Panorama, 18 April 1998, p. 16.

Michelle Potter, 26 August 2016

Featured image: Djakapurra Munyarryun in a scene from Ochres, 2015. Photo: © Jhuny-Boy Borja

Yolande Brown as Earth Spirit in Spear. Photo Jacob Nash

Spear. A Stephen Page film

17 February 2016, preview screening, Arc Cinema, National Film and Sound Archive, Canberra

No doubt about it, Stephen Page’s Spear is a confronting film, and one in which the director’s approach is absolutely uncompromising. But it is also an incredibly beautiful film from so many points of view.

Spear centres on the spiritual journey of a young man, Djali, played by Hunter Page-Lochard, who seeks to understand what it is to be an Indigenous man suspended between two, often conflicting worlds. As he moves between those two worlds we encounter with him the pressures and problems that surround him, including substance abuse, alcoholism, suicide, and racism.

Hunter Page-Lochard with artists of Bangarra Dance Theatre in 'spear'. Photo Edward Mulvihill — Hunter Page-Lochard with artists of Bangarra Dance Theatre in *Spear*, 2015. Photo: © Edward Mulvihill

Some moments are (deliberately) quite crass—a dance to the 1960s song ‘My Boomerang Won’t Come Back’, for example. Others are immensely powerful—such as a scene where Daniel Riley as ‘Prison Man’ engages with Elma Kris as ‘Old Woman’ who brings the cleansing power of a smoking ceremony into the prison mess hall. And others are breathtaking in their use of landscape as backdrop—the view of Kaine Sultan Babij as ‘Androgynous Man’ stalking through long grass and between trees is striking, as are the scenes in which Yolande Brown as ‘Earth Spirit’ walks along a red dust road.

Elma Kris and Daniel Riley in 'Spear'. Photo Tiffany Parker — Elma Kris as ‘Old Woman’ and Daniel Riley as ‘Prison Man’ in *Spear*, 2015. Photo: © Tiffany Parker

Choreographically Page has delivered some of his best movement, whether in solo work for the main members of the cast, or in group scenes. And so powerful are the performances by the cast that there is absolutely no doubt about the message being put forward. Sound is everywhere too. An original score by David Page is complemented by songs from Djakapurra Munyarryun, although spoken text in English is minimal and is mostly delivered by actor Aaron Pedersen who plays the part of ‘Suicide Man’. And there is a suicide scene, which is very deftly handled. Ochre is everywhere as well, in all its four colours. It seems to permeate the production whether as paint on bodies or dust in the air.

What makes this tough, fearless, uncompromising film so quietly beautiful? Visually it is stunning. Director of photography Bonnie Elliott has delivered some amazing shots of an incredible landscape from outback to rugged coastline, and some of the camera angles and close-up shots are just breathtaking. Even her takes on run-down interiors, under-ground spaces and alley ways are moving. And Jacob Nash’s work as production designer gives the film a particular strength. As in his sets for Bangarra’s live shows, Nash has brought to the film an understanding of the power of minimalism in design. But perhaps more than anything it is Stephen Page’s ability to deliver the ultimate message of hope that stands out. The closing scene is a ‘punch the sky’ moment. Simple, direct and moving.

Spear is Stephen Page’s debut as director of a feature-length film. It is a remarkable film. Go see it.

Detail of the costume for Earth Spirit in 'Spear'. — A close-up view of the ‘Earth Spirit’ costume, the work of Jennifer Irwin.

Michelle Potter, 19 February 2016

Ochres. Bangarra Dance Theatre

4 December 2015, Carriageworks, Eveleigh (Sydney)

Seeing Ochres in 2015 after 21 years was a remarkable experience. More than anything it marked the astonishing achievement of Stephen Page and his team of artists. Through the creativity that has characterised Bangarra’s journey, Page has given Australian Indigenous culture a powerful voice. Ochres was an eye opener in 1994. Now it is a powerful evocation of all that Bangarra stands for.

Djakapurra Munyarryun and Bangarra dancers in 'Black' from Ochres, 2015. Photo:-Jhuny-Boy Borja — Djakapurra Munyarryun and Bangarra dancers in ‘Black’ from *Ochres*, 2015. Photo: © Jhuny-Boy Borja

This 2015 Ochres is not an exact rendition of the original. It is promoted as a ‘reimagining’ of that early show but is definitely close enough for those who saw it in the 1990s to feel they are seeing the work again.

As it did in 1994, the 2015 Ochres begins with a scene featuring cultural consultant Djakapurra Munyarryun, not this time painting up with yellow ochre, but singing a song, Ngurrtja—Land Cleansing Song–composed especially (I believe) for this 2015 production. He has, as ever, huge power and presence. He stood perfectly still for several seconds before beginning his song and the effect was mesmerising.

Torres Starait Islander Elma Kris, another of Bangarra’s consultants, follows with a section called The Light in which she, like Djakapurra Munyarryun had done previously, smeared her limbs and face with yellow ochre.

These opening scenes are followed by the four ‘ochre sections’—’Yellow’ inspired by female energy, ‘Black’ representing male energy, ‘Red’ showing male and female relations, and ‘White’ inspired by history and its influence on the future.

In ‘Yellow’, choreographed by Bernadette Walong-Sene, the women dance low to the ground. Their movements are most often flowing and they have an organic look to them. Deborah Brown shows her remarkable skills throughout this section. How beautiful to see a relatively classical move, a turn in a low arabesque with one hand on the shoulder for example, followed by sudden movements of the head as if she is curious about, and watchful for what is happening around her. Brown always looks good no matter what style her movements represent.

‘Black’, with contemporary choreography from Stephen Page and traditional choreography from Djakapurra Munyarryun, shows power and masculinity—hunters crouching behind bushes, warriors with their weapons sparring with each other. This section is also characterised by some nicely performed unison work.

‘Red’ has the strongest narrative element of the four sections. It focuses on four different expressions of male/female relationships moving from youthful dalliance featuring Beau Dean Riley Smith, Nicola Sabatino and Yolanda Lowatta to the final section ‘Pain’ in which Elma Kris cares for an ailing man, danced by Daniel Riley. But in between we can imagine other relationships. Domestic violence and addiction perhaps?

‘White’ concludes the program. The two cultural consultants, Elma Kris and Djakapurra Munyarryun, lead this final section and, with all the dancers covered with white ochre, a spiritual quality emerges from sections representing a range of concepts from kinship to totemic ideas. The choreography is credited to Stephen Page, Bernadette Walong-Sene, and Djakapurra Munyarryun.

Jennifer Irwin’s costumes are cleanly cut and simply coloured. Jacob Nash’s set, looking like long shards of bark, hangs in the centre of the space above a sandy mound. It is lit in changing colours by Joseph Mercurio. A score by David Page is evocative of the 1990s but retains enough power and emotion to feel relevant still.

The kind of fusion of contemporary and traditional movements we have come to expect from Bangarra’s dancers is all there and reflects the fact that Bangarra is an urban Aboriginal initiative with strong links back to its cultural heritage. And, while the dancers of 1994 were extraordinary (a list of the 1994 team appears in the program), the manner in which Bangarra has grown technically is also clear. Its dancers are spectacularly good and their commitment shines through.

Michelle Potter, 9 December 2015

Featured image: Leonard Mickelo in a study for Ochres, 2015. Photo: © Edward Mulvihill

For more about Djakapurra Munyarryun follow this link.

'Sheoak', Luke Currie Richardson, Yolanda Lowatta and Beau Dean Riley Smith, Photo © Jacob Nash

Lore. Bangarra Dance Theatre

9 July 2015, Canberra Theatre

It would be hard to find two such disparate works as the two that make up lore, Bangarra Dance Theatre’s latest program curated by the company’s artistic director, Stephen Page. I.B.I.S, the opener, is the debut choreographic work from two artists from the Torres Strait Islands, Deborah Brown and Waangenga Blanco, and it is filled with fun, laughter and joyous dancing. Sheoak is from established choreographer, Frances Rings, and has a more sombre tone. While this work ends on a note of hope, it deals with serious issues that have powerful political overtones. But both are thrilling to watch and give us, once more, an insight into the depth of talent in the Bangarra family, which includes not just the dancers and choreographers, but the whole creative team.

I.B.I.S begins in a supermarket belonging to the Island Board of Industry and Services (hence the name I.B.I.S) and its customers are there not just to shop, but to socialise as well. We know though that they also shop there. A cheery dance by the women, who manipulate metal shopping baskets, makes that quite clear.

'I.B.I.S', Deborah Brown & Waangenga Blanco, 2015. Photo: © Jeff Tan — *I.B.I.S* with Deborah Brown & Waangenga Blanco, Bangarra Dance Theatre, 2015. Photo: © Jeff Tan

As the work progresses, however, we meet the fishermen who catch the sea creatures that fill the freezer cabinets. And we even meet the sea creatures themselves when they escape from the freezer at night.

But the essence of I.B.I.S is the community spirit that permeates Island life. There is a wonderful picnic-style section where the men dance for the women and then the women dance for the men, amid much shouting and many exclamations. And the highlight is the final section, which comes almost unexpectedly after it seems that the show is over. The full ensemble returns wearing traditional island skirts and headdresses and performs an absolutely exhilarating traditional dance, which clearly shows the many influences from Melanesia and Polynesia that characterise the culture of the Torres Strait Islands.

Sheoak focuses on environmental issues. The sheoak tree, the grandmother tree in indigenous lore, is endangered and, in the opening scene, we see pyramid of dancers gradually collapsing. The metaphor of the tree as Aboriginal society continues, and the keeper of the place in which the tree grows mourns its loss. Societal dysfunction results and the community faces the challenges of operating in a new environment. Choreographically, Rings has given the dancers stumbling movements that make them look disoriented. And a stunning duet between Elma Kris and Yolanda Yowatta is a highlight as an encounter between the old order and the new. Yowatta is currently a trainee with Bangarra and her beautifully fluid style of moving is an absolute delight.

Elma Kris made a major contribution to both works. In I.B.I.S she played the role of the owner of the store and her opening dance with a mop was a delight. But it was in Sheoak as the keeper of the lore that her strength as a performer, her commanding presence, was so clear. Hope for the future shone through.

Elma Kris in 'Sheoak'. Banggara Dance Theatre, 2015. Photo: © Edward Mulvihill — Elma Kris in *Sheoak*. Bangarra Dance Theatre, 2015. Photo: © Edward Mulvihill

As ever with Bangarra productions, lore was enhanced by a strong visual design. Karen Norris’ lighting for Sheoak was especially outstanding. It created a somewhat eerie atmosphere that set the work in an indefinable time. Jacob Nash continues to create minimal but very effective sets and Jennifer Irwin’s costumes again show her exceptional layering of textiles, notably in Sheoak. The evocative original scores were by David Page for Sheoak and Steve Francis for I.B.I.S.

If I have a grumble, it is that I would have liked to have seen better unison dancing (when unison was an intended part of the choreography). But it is hard to grumble when we are presented with the magnificent theatricality that characterised lore.

Michelle Potter, 15 July 2015

Season’s greetings & the ‘best of’ 2012

Thank you to those who have logged on to my website over the past year, especially those who have kept the site alive with their comments. I wish you the compliments of the season and look forward to hearing from you in 2013.

The best of 2012

Lists of the ‘best of’ will always be very personal and will depend on what any individual has been able to see. However, here are my thoughts in a number of categories with links back to my posts on the productions. I welcome, of course, comments and lists from others, which are sure to be different from mine.

Most outstanding new choreography: Graeme Murphy’s The narrative of nothing (despite its title), full of vintage Murphy moves but full of the new as well.

Most outstanding production: Bangarra Dance Theatre’s Terrain with choreography by Frances Rings and outstanding collaborative input from the creative team of Jennifer Irwin, Jacob Nash, Karen Norris and David Page.

Most outstanding performance by a dancer, or dancers: Lana Jones and Kevin Jackson in Balanchine’s Tschaikovsky pas de deux as part of the Australian Ballet’s 50th anniversary gala.

Most disappointing production: The Australian Ballet’s revival of Robert Helpmann’s Display. I’m not sure that anyone in the production/performance really ‘got it’ and it became simply a reminder that dance doesn’t always translate well from generation to generation, era to era.

Surprise of the year: Finucane and Smith’s Glory Box. While some may question whether this show was dance or not, Moira Finucane’s performance in Miss Finucane’s Collaboration with the National Gallery of Victoria (Get Wet for Art) was a wonderful, tongue-in-cheek comment on the angst-ridden works of Pina Bausch, and as such on Meryl Tankard’s more larrikin approach to serious issues.

Dancer to watch: Tammi Gissell. I was sorry to miss the Perth-based Ochre Contemporary Dance Company’s inaugural production, Diaphanous, in which Gissell featured, but I was impressed by her work with Liz Lea in Canberra as part of Science Week 2012 at CSIRO and look forward to the development of that show later in Canberra in 2013.

Beyond Australia: Wayne McGregor’s FAR, in which the choreography generated so much to think about, to talk over and to ponder upon.

Most frustrating dance occurrence: The demise of Australia Dancing and the futile efforts to explain that moving it to Trove was a positive step.

Michelle Potter, 16 December 2012

Tara Gower in 'Terrain'. Photo Greg Barrett

Terrain. Bangarra Dance Theatre

13 September 2012, Canberra Theatre

This is an expanded version of my review of Terrain published in The Canberra Times, 15 September 2012, under the title ‘Dancing into luscious terrain’.

Bangarra Dance Theatre’s Terrain is a mesmerising work in nine short parts. Billed as a hymn to country, it evokes the changing landscape of Lake Eyre while at the same time reflecting on the relationship of indigenous Australians to their land. Its power emerges at every level—choreographically, visually and musically and through some exceptionally fine performances by the dancers as well.

Yolande Brown and Travis de Vries in *Terrain*, Bangarra Dance Theatre, 2012. Photo: © Greg Barrett

Terrain is the work of choreographer Frances Rings and her dance making has many touches that mark her choreography as unusual and distinctive. She groups people together tightly at times and then suddenly a single body is thrust upwards and extends out of the complexity of it all. She often works on bodies that are positioned upside down so the legs and feet are the main focus. Sometimes the choreography jerks and bobs as in the section called ‘Spinifex’; at other times it flows smoothly and this is the quality we see in the final section ‘Deluge’. Occasionally a political stance draws out movement of a more forceful kind as in ‘Shields’ in which issues of land rights and recognition of indigenous people determine the choreographic style. The work has the stamp of Bangarra in the grounded quality of its movement: bodies rarely attempt to defy gravity. But it has the stamp of Rings in its delicacy and intricacy of movement.

The standout section for me was ‘Reflect’ in which Rings brought to life the meeting of earth and sky at the horizon. With its muted colour scheme of earthy green and brown, and consisting simply of a solo for Deborah Brown followed by a duet between Brown and Leonard Mickelo, it had a simplicity and purity to it. It called up a mysterious place where two worlds converge. ‘Spinifex’ was also bewitching as an ensemble of female dancers pranced and twisted across the stage in choreography that was inspired by the trees around Lake Eyre. My eye was also often drawn to Waangenga Blanco in several sections. He dances with such a fluid upper body and his movement streams out to his fingertips. His dancing was especially strong in the finale, ‘Deluge’, when water and hence life began to flow into Lake Eyre.

The work of Bangarra has always been distinguished by a strong visual aesthetic. For Terrain set designer Jacob Nash began with a bright, white stage that was gradually filled with changing colours and light. His major contribution was a series of abstract back cloths and each was a distinctive work of art in its own right. They ranged from a strong red and black cloth with a central focus of a circular black and white motif for ‘Scar’, to the soft green and brown impressionistic cloth against which ‘Reflect’ was danced. All the cloths were enhanced by the lighting design of Karen Norris, and indeed her lighting was a major design element in the first three sections.

Jennifer Irwin’s costumes were quite stunning. Diverse in their cut and in their sculptural qualities, they were beautifully textured and designed so that light playing on them could change their appearance completely. The women’s skirts for ‘Spinifex’, for example, often looked like lace as bodies swirled into a patch of light. A feathered, tight fitting, short bolero style jacket was alluring in ‘Salt’ and the flowing, lightly patterned skirts for men and women in ‘Deluge’ captured beautifully the feel of water.

Terrain was danced to an original score by David Page. It was lush and romantic at times, sparse and even harsh at other times. It flowed along with the choreography and vice versa.

Terrain is a wonderfully integrated work in which people, politics and country are delicately balanced. The spirit of a constantly changing Lake Eyre courses through the entire piece and the work secures Bangarra’s position as a treasure on the Australian dance landscape.

Michelle Potter, 15 September 2012

Infinity. A second look

14 April 2012 (matinee), Opera Theatre, Sydney Opera House

A second look at the Australian Ballet’s triple bill program, Infinity, at a recent Saturday matinee in Sydney produced some new highlights, but largely reinforced my thoughts following my first viewing on opening night in Melbourne.

As a new highlight, it was especially pleasurable to see that the shocking conflict between orchestra and the spoken narrative in There’s definitely a prince involved had been solved. It made a huge difference to one’s understanding of choreographer Gideon Obarzanek’s approach to the piece when one could actually hear what the performers were saying. The narrative is much wittier than was apparent on opening night when clarity and audibility were pretty much non-existent and when it seemed more like a fight between the orchestra and the spoken word than anything else.

In addition, the printed handout now included a credit to Tom Lingwood, whose name was missing from the handout on opening night but whose costumes from Swan Lake and Night Shadow were used for Prince (with extra costumes by Alexi Freeman). I suspect there needs to be someone doing a better job at proof reading of Australian Ballet publications, from major books down to nightly cast sheets.

Kristina Chan and Sara Black gave strong performances in Prince. Chan is a powerful dancer and her contemporary skills were especially evident in the ‘Drone 2’ section of Prince (although I’m not sure what the ‘Drone’ sections were meant to achieve). Black stood out on this occasion mostly for her confident delivery of the spoken text. And as before I admired Madeleine Eastoe and continue to yearn to see her in a Swan Lake that will give full expression to her glorious classical technique.

Warumuk-in the dark night. Photo by Jeff Busby — Artists of the Australian Ballet and Bangarra Dance Theatre as ‘The seven sisters’ in *Warumuk—in the dark night*, 2012. Photo: © Jeff Busby. Courtesy the Australian Ballet

In Stephen Page’s Warumuk—in the dark night, Jennifer Irwin’s costumes remain a highlight as does Vivienne Wong’s performance as the Evening Star. But it remains just a pretty work, evocative and atmospheric.

There is no doubt in my mind that the major piece on the Infinity program is Graeme Murphy’s The narrative of nothing. Halaina Hills and Amy Harris danced the female leads on this occasion but I was especially impressed by Benedicte Bemet, in her first year with the company, who danced securely and serenely in a duet with Jarryd Madden. An injured Andrew Killian was replaced by Andrew Wright but it was Adam Bull again who stole the show amongst the male performers. I admired the intensity with which he approached Murphy’s choreography with its quirky and demanding partnering and its detailed and often unexpected movements. And looking back to my original post and its comments, I don’t think I interpreted the work differently despite now knowing that the score by Brett Dean referred to the Black Saturday bushfires of 2009. I continue to think that the work stands alone as an abstract piece and needs no context of bushfires or anything else of a specific narrative/contextual nature.

In fact, what I found most striking on this second viewing of Infinity was the choreographic power of The narrative of nothing. While we can look at this work as ‘vintage Murphy’ in so many ways, when seen alongside the other works that comprise Infinity the depth of Murphy’s choreographic invention, his devotion to making dance that speaks to the audience about the nature of dance, his ongoing explorations into the art of collaboration with the performers he chooses and with his creative team, is astonishing. While I love Infinity as a whole, especially for its admirable pushing of the boundaries of what the Australian Ballet stands for, Murphy stands out as the choreographer with the most to offer. He gave the dancers something to dance, something with guts, and he gave the audience something abstract, something in which they could immerse themselves in a way that only dance can offer.

Michelle Potter, 15 April 2012.